參考資料 |
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【參考資料】 |
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內容簡介(中文) |
「瀧岡阡表」成於宋神宗熙寧三年(一○七○),由歐陽修(一○○七-一○七二)撰文書碑,立石江西永豐鳳凰山。阡表依循漢代子為父立碑先例,追述其父崇國公及太夫人言行事蹟。文中流露人子感念親恩、追懷傷悼之情,其平常話語「祭而豐不如養之薄也」,道盡人子風木哀思。歐陽修為北宋文壇盟主,兼長金石考證之學。碑文楷書,結體寬博,用筆從容,具有唐人開闊的氣度。
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內容簡介(中文) |
歐陽修(1007-1072),字永叔,號醉翁,晚又號六一居士,廬陵(今江西吉安)人。此碑為歐陽修親自撰文並書丹,文章為著名的〈瀧岡阡表〉,碑石現存江西永豐縣沙溪鎮西陽宮碑亭內,該宮乃歐陽修生前託付道士看守其父母墳塋的道觀。他以其一貫的書風寫此碑,碑額四大字的筆法與結構也與小字類似。相較墨蹟,可發現此拓本用筆稍加凝重,除了可能與書寫態度有關外,刻手與拓工也是不可忽視的因素。(20061206)
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內容簡介(英文) |
Ou-yang Hsiu, style name Yung-shu and sobriquet Tsui-weng (also with the late sobriquet Liu-i chu-shih), was a native of Lu-ling (modern Chi-an, Kiangsi). This stele was personally composed and calligraphed by Ou-yang Hsiu, his celebrated essay going by the title of “Shuang-kang Tomb Inscription”. The stele stone is presently located in the stele pavilion at the Hsi-yang Temple in the town of Sha-hsi in Yung-feng County, Kiangsi. This Taoist temple is where Ou-yang Hsiu entrusted a Taoist to care for the remains of his mother and father. He used his customary calligraphic style to write this funerary stele, the brush method and structure of the four large characters of the stele tableau being similar to those of his small characters. Compared to calligraphy done directly on paper or silk, one finds the brushwork in this rubbing to be slightly stiffer. Though perhaps related to the nature of the text, the influences of engraving and rubbing also cannot be overlooked as factors.(20061206)
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內容簡介(中文) |
歐陽修(西元一○○七-一○七二年),字永叔,號醉翁,晚號六一居士,廬陵(江西吉安)人。此碑為歐陽修親自撰文書丹,碑石現存江西永豐縣沙溪鎮西陽宮碑亭內,該宮乃歐陽修生前託付道士看守其父母墳塋的道觀。他以其一貫書風寫此碑,碑額四大字的筆法與結構也與小字類似。相較墨蹟,可發現此拓本用筆稍加凝重,除與書寫態度有關外,刻手與拓工也是不可忽視的因素。(20120104)
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內容簡介(英文) |
Ouyang Xiu (style name Yongshu, sobriquet Zuiweng) was native to Luling (Ji’an, Jiangxi). This stele was personally composed and calligraphed by Ouyang, being a celebrated essay of his. The original stone is now in the stele pavilion at Xiyang Temple in Shaxi, Yongfeng County, Jiangxi. This temple is where Ouyang entrusted a Taoist to care for the remains of his mother and father. He used his customary style to write this funerary stele, the brush method and structure of the tableau’s 4 large characters similar to his small characters. Compared to calligraphy on paper or silk, the brushwork in this rubbing looks slightly stiffer. Though perhaps related to the nature of the text, the influence of engraving and rubbing also cannot be overlooked.(20120104)
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參考書目 |
何炎泉,〈宋瀧岡阡表墨拓本〉,收入林柏亭主編《大觀-北宋書畫特展》(臺北:國立故宮博物院,2006.12),頁286-291。
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